Venice to Versailles

Elysium Ensemble Marco Uccellini he title ‘Venice to Versailles’ evokes Venice to Versailles 8 Aria sopra la Bergamasca 4’18” the idea of a journey or the movement Elysium Ensemble Sonate, arie et correntia… (Venice, 1642) recorder, violin and guitar Tfrom one place (or state) to another.

Greg Dikmans recorders and baroque flute Jacques Hotteterre The works recorded here certainly present Lucinda Moon baroque violin Première Suite de pièces a deux dessus… (Paris, 1712) an intriguing musical journey through the Simon Martyn-Ellis lute, theorbo and baroque guitar flute and violin 9 [Ouverture] (gravement–gay) 3’13” diversity of Italian and French instrumental Giovanni Bassano q0 Allemande (gay) 1’52” 1 Ricercata Quarta 2’51” qa Rondeau — Les Tourterelles chamber music of the sixteenth, seventeenth Ricercate, passaggi et cadentie… (Venice, 1585) (gracieusement, et un peu lent) 2’10” and eighteenth centuries: sets of variations recorder solo qw Gigue 1’35” on vocal works and ground basses, dances, 2 Susanne ung jour 4’05” Robert de Visée sonatas and suites. On another level, the (after Roland de Lassus) Suite in A minor Motteti, madrigali et canzoni francese…diminuti theorbo solo ‘affections’ or ‘passions’ – universal states of (Venice, 1591) qd Prelude 2’05” violin and lute qf Allemande — La Royalle 3’00” the soul, such as rage, melancholy, joy or qg Courante du même 1’45” mystic exaltation – of the attentive listener 3 Frais et gaillard 3’34” qh Chaconne 1’57” (after Clemens non Papa) will be moved. Motteti, madrigali et canzoni francese…diminuti Jacques Hotteterre (Venice, 1591) Troisième Suite Venice and Versailles were two of the most recorder and lute Pièces pour la flûte-traversière… (Paris, 1708) flute and theorbo important centres for the arts in Europe Giovanni Girolamo Kapsberger qj Allemande — La cascade de St. Cloud (piqué) 2’36” 4 Toccata No. 3 2’14” qk Sarabande — La Guimon 2’45” during the Baroque period. They represent Libro primo d’intavolatura di chitarone (Venice, 1604) ql Courante — L’indiferente (légèrement) 2’28” the two dominant and contrasting styles of theorbo solo w0 Rondeau — Le plaintif (tendrement) 2’36” * wa Menuet — Le mignon music: Venice, the robust, joyous exuberance Dario Castello (un peu doucement) 0’58” and barocco (‘wild’ or ‘grotesque’) character of 5 Sonata Prima à sopran solo 5’04” ws Gigue — L’Italienne 1’19” * Sonate Concertate… (Venice, 1629 the Italian style, and Versailles, the refinement, violin and theorbo also on special video (see page 12) * delicacy, elegance and douceur (‘sweetness’) of Giovanni Paolo Cima François Couperin the French. 6 Sonata à 3 3’32” wd Muséte de Choisi 6’06” Concerti ecclesiastici… (Milan, 1610) Première partie (tendrement) — Seconde partie (mineur) recorder, violin and theorbo Muséte de Taverni: www.elysiumensemble.com Première partie (légèrement) — Seconde partie (mineur) Diego Ortiz Troisième livre de pièces de clavecin (Paris, 1722) 7 Recercada Ottava — Recercada Segunda 3’59” flute, violin and theorbo Trattado de glosas… (Rome, 1553) P 2002 Move Records, Australia recorders, violin and guitar Audio running time 67’16” move.com.au his title evokes the idea of a journey and feelings with the utmost vividness. From or the movement from one place (or Monteverdi to Bach, they sought new musical “Music … Tstate) to another. The works recorded means for the expression of the ‘affections’ or here certainly present an intriguing musical ‘passions’, and to intensify these musical effects is made particularly and principally journey through the diversity of instrumental by means of (sometimes violent) contrasts. to charm the spirit and the ear, and chamber music of the sixteenth, seventeenth and to enable us to pass our lives with eighteenth centuries from Italy and France: sets Music, Oratory and a little sweetness amidst all the of variations on vocal works and ground basses, dances, sonatas and suites. On another level, bitterness that we encounter there.” The Affections the ‘affections’ or ‘passions’—universal states of Marin Mersenne, Harmonie the soul, such as rage, melancholy, joy or mystic universelle (1636). n assumption that was prevalent in the exaltation—of the attentive listener will also be seventeenth and eighteenth centuries moved. The conscious desire to transport the was that the ancient Greeks were correct “The basis of music is sound; its aim listener from one state of the soul to another is, A in their belief that music plays a fundamental is to please and to arouse various in fact, the one common characteristic of the role in society because of its power to have emotions in us.” many different styles and types of music written a direct effect upon the soul and actions of René Descartes, Compendium Musicæ during the Baroque period. mankind. This presupposes that music possesses (1618 / published 1656). Venice and Versailles were two of the a content beyond its purely musical syntax and most important centres for the Arts in Europe structure, and that that content is describable “In the human heart new passions are during the Baroque period. They represent in emotive terms. This is itself based on the for ever being born; the overthrow of the two dominant and contrasting styles of view, first discussed by Plato and Aristotle, that music: Venice, the robust, joyous exuberance one almost always means the rise of music ‘imitates’ or ‘represents’ the characters and and barocco (‘wild’ or ‘grotesque’) character of another.” passionate tones of men with the aim of arousing the Italian style, and Versailles, the refinement, such passions in the listener. Seventeenth- and Duc de La Rochefoucauld, Réflexions delicacy, elegance and douceur (‘sweetness’) of ou sentences et maximes morales eighteenth-century musicians also saw many the French. parallels between the Greek and Roman art (Paris, 1665). The cover photograph depicts these ideas of rhetoric (oratory) and music. According to wonderfully. In it we see the parquet floor of ancient writers, such as Aristotle, Cicero and “[The aim of the composer should Louis XIV’s sitting room at Versailles, with its Quintilian, orators employed rhetorical means be] to express the conceptions of the precise yet classically cool and well proportioned to control and direct the emotions of their mind and…to impress them with the design, bathed in the warm glow of autumn audiences and so persuade and move them. greatest possible effectiveness on the sunlight (I like to think of it as a Mediterranean It is not surprising to find Marin Mersenne minds of the listeners.” sun). The photograph is also a beautiful study in Harmonie universelle (1636) describing Vincenzo Galileo, Dialogo della of darkness and light. The dramatic contrast of musicians as ‘harmonic orators’. light and shade (chiaroscuro) was a technique musica antica e della moderna (1581). When writing about music and its used by Baroque painters to express emotion. performance, musicians of the early-seventeenth Baroque composers also sought to express, century in Italy, for example, often used or rather, represent, a wide range of ideas the word affetto. It was used to refer to the their own particular style. These treatises consist states of the soul and also to the particular mainly of musical examples: lists of passaggi on expressive devices employed in composition and the intervals of the scale and cadential formulas “Musical execution performance to arouse those states. The vocal (cadentie), as well as examples of complete pieces may be compared with the delivery of embellishments (trillo, gruppo, esclamazione etc.) to show how these ideas could be applied in an orator. The orator and the musician that Guilio Caccini discusses in his Le Nuove practice (tracks 1, 2, 3). have, at bottom, the same aim in regard Musiche (‘the new music’), published in 1601, The instrumental music of the early to both the preparation and the final are termed affetti; and Biagio Marini titled his Baroque continued the development of these execution of their productions, namely first book of instrumental music, published techniques and practices. Dance music and to make themselves masters of the hearts in Venice in 1617, Affetti musicali (‘musical the freer, more instrumentally idiomatic of their listeners, to arouse or still their affections’). forms like the toccata (4), ricercata (1) and passions, and to transport them now to Apart from embellishments, the affetti prelude continued to be written. The most this sentiment, now to that.” musicali included ornamental passage-work important instrumental forms, however, were Johann Joachim Quantz, Versuch einer or divisions (passaggi), expressive intervals those originally derived from vocal models: the Anweisung die Flöte traversiere zu spielen and dissonances, and startling or unexpected canzona, sonata (tracks 5 and 6) and sinfonia. (Berlin, 1752). harmonies and chord progressions. Performers of In these forms the imitative techniques of the this early Baroque repertoire were also expected polyphonic chanson, madrigal and motet were “Men of purblind Understandings, to match their tempos (including radical combined with the improvisation practices of and half Ideas may perhaps ask, fluctuations), phrasing and articulation to the the late sixteenth-century instrumental virtuosos, is it possible to give Meaning and ‘affect’ of the piece or section of a piece. such as Giovanni Bassano (tracks 2 and 3). Expression to Wood and Wire; or to The terms canzona and sonata are bestow upon them the Power of raising derived from canzona per sonar (literally ‘song and soothing the Passions of rational Instrumental Music in Italy to be sounded’ or ‘played’) and initially did not Beings? But whenever I hear such a indicate two distinct forms. They were used to Question put, whether for the Sake of uring the late-sixteenth century describe instrumental works that were either Information, or to convey Ridicule, I in Italy, the practice of playing direct intabulations (notated in lute tablature) shall make no Difficulty to answer in diminutions or passaggi on existing D of French chansons (‘songs’) or more loosely the affirmative…Experience has shewn vocal works was considered an integral part of based on them. The canzona or sonata is usually that the Imagination of the Hearer is in tasteful instrumental performance. Performers divided into a number of clearly defined and general so much at the Disposal of the developed their own individual styles, extending contrasting sections. An imitative section is Master that by the Help of Variations, the musical ideas and techniques of their contrasted with a chordal section, or duple time Movements, Intervals and Modulation predecessors. By the end of the century the is contrasted with triple time, and each section he may almost stamp what Impression art had developed into a new kind of musical has its own mood or affect (tracks 5 and 6). on the Mind he pleases.” exhibitionism, exploiting the idiomatic Several of the works on the CD are Francesco Geminiani, possibilities of each instrument. A number of based on grounds (tracks 7, 8 and qh). A A treatise of good taste in the art of music practical treatises were published by leading ground is a melody, usually in the bass (hence (London, 1749). musicians, whose main concern was the ground bass), recurring many times in succession technique of playing and the documentation of accompanied by continuous variation in the upper parts. Variation sets based on grounds linked to create larger musical structures by the first, in duple time, usually has a majestic form an important part of the instrumental repeating the first after the second (track wd); affection with dotted rhythms and the second, repertoire of the Renaissance and Baroque similarly, a pièce was sometimes followed by usually in triple time, is fugal and cheerful (9). periods. Several later Baroque dance forms, such a double (‘as much again’ or ‘duplicate’), a The allemande, a dance in duple time, as the chaconne (track qh) and passacaille, are also repetition of the pièce with added passage-work originated some time in the early or mid- built on grounds. The possibilities of melodic and ornamentation (track ql). sixteenth century and by 1732 was likened to and harmonic variations on these bass patterns Suites often began with an ouverture or a rhetorical proposition from which the other are almost endless, limited only by the skill and prélude (tracks 9 and qd) and in addition to movements of a suite flow.Allemandes were imagination of the composer (and performer). the allemande, courante, sarabande, menuet and given a wide range of tempo and affect markings gigue, the most popular Baroque dances which (tracks q0, qf and qj). became the core of the later suites by composers The courante (literally ‘running’) is The French Suite such as Bach and Handel, the French had a large a triple time dance of two types: the Italian number of other distinct dance types which were variety (track ql) has a fast tempo with running n fine arts the wordsuite (from suivre ‘to combined in a multitude of ways. melodic passages in small note values; the French follow’) was used in the early-eighteenth The ouverture (‘opening’) is a form that variety is similar, but often mixed simple triple I century in France to denote a collection of was developed by Jean Baptiste Lully (1632– time (three groups of two shorter notes) with objects of the same type, as in suite d’estampes (a 1687). It is cast in two contrasting sections: compound duple time (two groups of three set engravings or prints) and hence our lounge suite or suite of rooms. By analogy the term was also used for collections of instrumental pièces that were usually grouped together by key. These groupings were largely a matter of convenience and French composers in no way had a concept of the suite as a finished or immutable work. Performers could select as many or as few pièces as seemed appropriate to the circumstances; even the order in which they could be played was not fixed. Many of the pièces in these collections are dances in binary form: two sections each repeated in the form AABB (tracks q0, qs, qf, qg, qj, qk, ql, wa and ws). Another common inclusion is the rondeau (tracks qa and w0), a pièce in which, after an initial repetition, the first section or refrain returns a number of times (often with extra ornamentation) after intervening sections called couplets in the form AABACA. Pairs of dances were also sometimes Move Elisium Ensemble at The shorter notes). so, most importantly, the silences between them. Giovanni Bassano The sarabande originated in the Rhythmic alteration includes all the expressive sixteenth century in Latin America and Spain fluctuations of tempo and rhythm that a Bassano (c1558-1617) was a cornetto player who as a sung dance in triple time. During the sensitive musician employs, but in French music joined the instrumental ensemble at St. Mark’s, seventeenth century various instrumental types there is a specific convention known asnotes Venice in 1576. He published two important developed in Italy and France, with a fast and inégales (‘unequal notes’): in certain situations treatises: Ricercate, passaggi et cadentie (1584/6), ql slow type (track ) finally emerging. equally notated note values are played unequally. which included examples of quasi-improvised The origin of the menuet is unknown, For example, quavers can be played as pieces for solo instrument (ricercate), and but it seems to have appeared in the court dotted quaver/semiquaver pairs—a ratio of Motteti, Madrigali et Canzoni francese (1591), of Louis XIV during the 1660s. As the most 1:1 becomes 3:1, though other more subtle which comprises examples of diminutions elegant of the aristocratic social dances, it was ratios are also possible, such as 3:2 or even 2:1 of complete parts from vocal models. He wa dignified, graceful, relaxed and unaffected ( ). (as in triplets). Sometimes composers notated explains how a vocal work consisting of several The gigue apparently originated in the the rhythm they wanted or included a written voice parts can be performed by one melody British Isles, where popular dances and tunes instruction at the beginning of a pièce, but it instrument playing diminutions on one of the called ‘jig’ are known from as early as the was largely left to the knowledge and taste of the parts, accompanied by either other melody fifteenth century. By the end of the that century performer. The agréments (from agréer ‘to please, instruments or a harmonic instrument (like the distinct French and Italian styles had emerged, be agreeable’) are the trills and other graces lute) playing the remaining parts. In Bassano’s the French being written in a moderate or added to a melody to make it more charming diminutions we can hear the beginnings of fast tempo (in 6/4, 3/8 or 6/8) with irregular, or graceful—the French did not conceive of the Baroque style of instrumental writing as blurred phrases, imitative texture and a cheerful melody without them. Couperin and Hotteterre exemplified in the sonatas by Castello (track 5) qs ws affection (tracks and ). notated their agréments with great care through and Cima (6). the use of many symbols. Ricercata Quarta (track 1) is divided French Performance Practice Composers further indicated their into a number of sections by clearly defined musical ideas with the words they wrote at the cadences, and there is some free development beginning of a pièce that describe the character erformance practice can be of the melodic ideas and frequent use of florid or affect to be borne in mind by performers in passaggi. divided into two broad areas. their interpretations; sometimes the title of a The technical aspects, which Hotteterre The other two works are based on early- P pièce gives a similar indication. Following are sixteenth century French chansons by Roland called le jeu (‘playing’), include how to hold translations of the terms at the start of the pièces de Lassus and Clemens non Papa.The text of an instrument, sound production, fingerings, recorded here: tuning systems and the theory of figured a chanson is often about l’amour (a national gravement solemnly, seriously preoccupation). Bassano’s divisions are in bass. The musical aspects, which Hotteterre gay cheerful, merry, lively called la propreté (‘proper execution’), include keeping with the dominant affect of each text. gracieusement gracefully Susanne ung jour (track 2): “Susannah, articulation, the conventions of rhythmic un peu lent a little slower alteration, the execution of agréments and how to being solicited one day by two old men desiring piqué sharply dotted her beauty, was inwardly sad and downcast on use these to help project the passions. légèrement lightly Articulation has to do with the way seeing this attempt on her chastity. She said to tendrement tenderly them: ‘If by disloyalty you enjoy my body, I am individual notes are attacked and released, and doucement sweetly lost; if I put up a struggle, you will have me put with an innovative instrument. including a four-part mass, and six Sonate per to a disgraceful death; but I prefer to perish in A toccata (from toccare ‘to touch’) is a Instrumenti, four by Giovanni and two by his my innocence rather than offend the Lord by free, improvisatory solo piece intended to exhibit brother Andrea. sin.’” a player’s technique (track 4). Cima’s importance lies mainly in his early Frais et gaillard (track 3): use of the trio sonata medium (two melody lines “Fresh and confident, one day among a plus bass). Like the Castello sonata, Sonata à tre thousand, I strove to make an ample breach in Dario Castello (track 6) is constructed of contrasting sections the defences of a fair maid, to fulfil the works of with some virtuosity of style, though more nature. She replied: ‘Such is my desire, but I fear Castello (?–1658) was an instrumentalist who restrained as befitting its ecclesiastical context. it is too small’. When she felt it, she cried: ‘By worked at St. Marks in Venice. He was Capo di our lady! Make haste, for I swoon.’” Compagna di Instrumenti (‘head of the company of instruments’) when he published his two Diego Ortiz books of Sonate Concertate in 1621 and 1629. Giovanni Girolamo While some elements of the older canzona style, Ortiz (c1510-c1570) was a Spanish theorist, especially the sectional structure, are retained, composer and viol player. He was in Naples by Kapsberger the title pages describe the works as being in 1553, when he dedicated his Trattado de glosas the stil moderno (‘modern style’), a style that to the Spanish nobleman Pedro de Urries, Baron Kapsberger (?–1651) was born in Venice and assimilated the older style of instrumentally of Riesi (Sicily). By 1558 he was maestro de moved to Rome in 1604 after the publication embellished vocal music, transforming it into of his Libro primo d’intavolatura di chitarrone the new, idiomatic Baroque sonata. (‘First book of intabulations for the theorbo’ — Sonata prima (track 5) is an excellent lute music used a special notation system called example of the Italian love of extreme contrasts, tablature). He was regarded as the foremost moving through a range of affects from the virtuoso of his time on the chitarrone (theorbo), tranquil to the fiery. Castello uses just two terms lute and guitar. The theorbo (the name changed to indicate the affect of the contrasting sections: c1610–1620) had only been invented c1589 and ad asio [agio] (‘at ease’ or ‘relaxed’) and allegra the extra extended neck for the bass strings was (‘merry’ or ‘lively’). apparently not added until 1595. It was unlike any previous member of the lute family in that it has a re-entrant tuning: the first and second Giovanni Paolo Cima strings are tuned down an octave so the third string is actually the highest in pitch. Kapsberger Cima (c1570-?) was director of music and had no tradition to fall back on with this new organist at St. Celso, Milan in 1610 and was the instrument (the Renaissance polyphonic style leading composer of the Milanese instrumental was not really possible on an instrument with school in the early-seventeenth century. In 1606 re-entrant tuning) but still managed, in a short he published a collection of ricecares and canzoni period of time, to develop a new virtuosic solo alla francese. His 1610 publication, Concerti style: he was an innovative musician working ecclesiastici, contains conservative church music, Martyn-Ellis on theorboSimon capilla of the chapel maintained in Naples by the variations that can be played over each bass first to appear in Europe), teacher, performer Spanish viceroy. progression. It is left to the performer to decide and instrument maker. Hotteterre used the The Trattado de glosas (‘treatise on the how best to use these ideas and examples. For appellation ‘le Romain’ from at least 1707, ornamentation of cadences and other types Recercada Segunda I have prepared some because he may have spent time in Italy in his of passages in the music of viols’) is the first counter-melodies and variants as a basis for youth. printed ornamentation manual for the player of improvising against (or with) Ortiz’s notated Hotteterre had strong connections with bowed string instruments. It provides numerous examples. the French court. As early as 1689 he is recorded written-out divisions on specific passages and as being a bassoonist in the Grands Hautbois du cadences. The player is told to inspect the dozen Roi and the title page of his first book ofpièces or more variants provided for each one, to Marco Uccellini for the flute (1708) indicates that by then he was choose the most apt and to write it into his part also a Flûte de la Chambre du Roi. at the appropriate place. This is demonstrated Uccellini (c1603-1680), violinist and priest, Hotteterre dedicated this book to Louis in several ornamented versions (also called is primarily important as a composer of XIV saying that the favourable regard that Your recercadas) of four-part songs by Jacob Arcadelt instrumental music. None of the music of his Majesty deigned to accord me when I had the and Pierre Sandrin. The Trattado also contains operas and ballets, composed towards the end honour to play these pieces in your presence, four solo recercadas for bass viol, six built on of his life, has survived. He spent some time in inspires in me the boldness to present them to the La Spagna bass (e.g. Recercada Ottava — Assisi probably as a pupil of Buonamente. In you today. track 7) and eight built on passamezzo basses 1641 he became head of instrumental music We have selected four pièces (tracks 9 (e.g. Recercada Segunda — track 7). In these at the Este court in Modena and from 1647 to to qs) from Hotteterre’s Première suite de recercadas Ortiz gives a number of example 1665 was maestro di cappella at the cathedral pièces à deux dessus, sans basse continue (‘First there. From 1665 until his death he was maestro collection of pieces for two melody instruments di cappella at the Farnese court at Parma. His without bass’). In a brief avertissement he states extant output comprises seven collections, that the second part can be played on a string mainly of sonatas, printed between 1639 and instrument. Throughout these pièces, the two 1669. melodic lines interact in continuous musical 8 Aria sopra la Bergamasca (track ) is a dialogue, a conversation galante (‘courteous variation sonata from Uccellini’s third book of conversation’). The title of the Rondeau — Les instrumental music, which uses a simple four- Tourterelles (track qa) means ‘turtledoves’; it note ground bass that is repeated thirty-one expresses beautifully the douceur (‘sweetness’) so times. prized by the French. The Troisième Suite (tracks qj to ws) Jacques Hotteterre comes from Hotteterre’s first book ofpièces for the transverse flute. The Allemande (track qj) Hotteterre (1674-1763) was the most illustrious bears the title ‘The waterfall of St. Cloud’. St. member of the famous Hotteterre family of Cloud (now a district of Paris) was a villa owned musicians. He was active as a composer and at that time by Philippe Duc d’Orleans, the king’s nephew and later regent of France after Greg Dikmans on baroque flute Dikmans on baroque Greg arranger, theorist (his flute treatise was the Louis’ death. For a time Philippe studied the different copyists, possibly including de Visée and accompaniment to the late Monseigneur le flute with Hotteterre, who dedicated a book of himself) of works for theorbo also survive. These Dauphin Duc de Bourgogne (the duke, who was trio sonatas to him. The meaning of the title last contain the same types of dance pieces as are the grandson of Louis XIV and father of Louis of the Sarabande — La Guimon (track qk) is found in his guitar music and often duplicate XV, had died in 1712) and that he was currently unclear. The title of the Courante (track ql) the guitar works. teaching the infant queen Marie Leszczynska. means ‘indifferent’ or ‘unconcerned’ and it The Suite in A minor (tracks qd-qh) is Couperin’s Pièces de clavecin (‘harpsichord certainly has a light-hearted, carefree character. from one of the surviving manuscripts. It begins pieces’) were published in four volumes (1713, It is in two parts, the second being a double with with a free-form Prélude (track qd) that is not 1717, 1722 and 1730). They contain dance added passage work and ornamentation. The unlike a toccata. The title of the Allemande and character pieces, many of which have titles Rondeau (track w0) is titled ‘the plaintive’ or (track qf) and the following Courante (track (though the connection between title and piece ‘doleful’ and is a wonderful expression in music qg), ‘the royal’ or ‘regal’, suggests that they may is not always clear). The two musettes (track wd), of melancholy. have been intended as a homage to the king. Muséte de Choisi (‘choice’ or ‘carefully chosen’) The title of the Menuet (track wa), The Chaconne (track qh) is typical of this dance and Muséte de Taverni (‘tavern’), come from ‘pretty’ or ‘darling’, is also entirely appropriate to type. It is based on a simple four bar ground the third book. A brief note in the score states the character of the music. The suite ends with bass, with seven sections (or variations) of that ‘these musettes are appropriate for all sorts a Gigue (track ws), titled ‘the Italian’, which is contrasting melodic material, each built on two of instruments in unison [playing at the same typical of the Hotteterre’s quirky approach to repetitions of the bass. pitch]’. On the CD the flute plays thesujet this type of dance. (‘subject’), the violin the contre-partie (literally ‘opposing view’) and the theorbo the bourdon François Couperin (‘drone’—literally ‘bumblebee’). Couperin’s Robert de Visée melodic inventiveness in these two pièces is quite Couperin (1668-1733) was the most famous extraordinary. De Visée (mid-17th–early-18th century) was member of a musical family that was active in The musette was a small bagpipe derived the most famous guitar and theorbo player in and around Paris from the sixteenth century from folk instruments but redesigned, often France during the reign of Louis XIV. Around to the mid-nineteenth. He wrote some of the with highly ornate trappings, for aristocratic use. 1680 he became a chamber musician at the finest music of the French neo-classical school, The term musette was also applied to a dance- royal court. He performed frequently with the including numerous works for solo organ like pièce of pastoral character whose style is flautists Descouteaux and Philbert (Hotteterre’s and harpsichord, motets, cantatas, chamber suggestive of the sound of the musette, and a predecessors), the harpsichordist Jean-Baptist music for small ensembles and a treatise on dance of the same name was danced in French Buterne and the violist Antoine Fourqueray; harpsichord playing. As befitting someone of ballets as early as 1718. he was also the king’s guitar teacher. In the his high standing, Couperin held a number of dedication to his first guitar book (1682) he important positions at Louis XIV’s court that Notes © Greg Dikmans (2002) mentioned that he was often called upon by the continued after the king’s death in 1715. The king to amuse the Dauphin and according to title page of Les Goûts-réünis (1724), a collection another account he regularly played at the king’s of instrumental chamber music, states that bedside in the evenings. he was an organist of the king’s chapel and a De Visée published two books of pièces member of the musique de la chambre, as well as for the guitar, and three manuscripts (by three previously being employed to teach composition Cover Photograph Instruments and research. Founded in 1985 by its artistic director Greg Dikmans, the Elysium Ensemble he Australian artist Felicity Spear and ‘Ganassi’ soprano recorder in C: Frederick has a flexible format, with a small core I share a love of the French—their Morgan, Daylesford. membership drawn from Australia’s leading language, art, music and cultural period instrument specialists that is expanded for T larger orchestral works. The ensemble presents heritage—which nourishes our creative activities. ‘Ganassi’ alto recorder in G: Frederick Morgan, We have had many interesting conversations Daylesford, after late sixteenth-century model. an annual concert series in Melbourne that has about the relationship of art and music, and I established its reputation as one of Australia’s have had the pleasure of playing at one of her Baroque flute: Rudolf Tutz, Innsbruck, after G. finest chamber ensembles. It has performed exhibition openings. After one of her visits to A. Rottenburgh (mid-eighteenth century). extensively in Australia including appearances at France, she showed me a portfolio of photos she major festivals such as the Melbourne Festival, had taken as part of her research and I am most Baroque violin: presumed Italian (c.1700)—set Barossa Music Festival (SA), the Four Winds grateful that she agreed to let me use one of to period specifications. Festival (Bermagui, NSW), the Nuits d’Été them for the cover of this CD and to provide the Festival (Sydney), the Melbourne Autumn Music following short note about her work. Theorbo: Tim Guster, Adelaide, 2001 Festival and the Melbourne Early Music Festival. It has also made numerous live broadcasts and Greg Dikmans Baroque Guitar: Tim Guster, Adelaide, 2000 concert recordings for the ABC and public FM Just as there is an association with architecture stations. The Elysium Ensemble is affiliated in the music of the seventeenth and eighteenth Renaissance Lute: Peter Biffin, Armidale, 1994 with the Early Music Studio at the University centuries, so too there is an overlay of of Melbourne. Its first CD,The Bedroom of the architecture in my paintings and photography. King—Intimate music from the 18th-century My works reference historical models of seeing Elysium Ensemble French court and the salons of Paris (Move MD and perceiving, and investigate the symbiosis 3184) appeared in 1998. that occurs between certain sites and our he Elysium Ensemble has been acclaimed experience of space and time. One of these by critics for its exciting performances, Greg Dikmans has been at the forefront of models is the period of the European Baroque, Tfine musicianship and authoritative the early music movement in Australia as a with its innovative explorations in the use of interpretations of music from the Baroque performer, conductor, educator and scholar light, optics, illusionism and the theatrical and Classical repertoire. This special ensemble since graduating with a Bachelor of Music manipulation of space in architecture. Early embodies the concept of elysium (defined in (Uni. of Sydney) in 1978. From 1983-84 music reflects diverse variations on a theme with the seventeenth century as a state of ideal he studied in Belgium and The Netherlands an expressive intensity, as well as an architectural happiness) by bringing together musicians with the assistance of a Churchill Fellowship structure and order. Engaging with these musical whose awareness of the stylistic demands of the and an Australia Council grant, receiving references, and in the wake of modernism, I repertoire is combined with a mastery of period the Diploma in Baroque Flute (First Prize) revisit this period within the contemporary instruments. The ensemble’s performances from the Royal Conservatorium in Brussels milieu. are indicative of the freshness and spontaneity where his teacher was Bartholt Kuijken. Greg which the musicians bring to this collaboration is recognised internationally for his research through discussion, rehearsal, experimentation into the performance practice of eighteenth- Felicity Spear century French flute music, the subject of of the Australian Brandenburg Orchestra with his MA thesis (LaTrobe Uni.), and his PhD whom she has recorded for ABC Classics and studies (Uni. of Melbourne) are centred on performed in Australia, Europe and Japan. the relationship of rhetoric to all aspects of the She has also performed extensively in Europe, performance practice. As a tutor and associate Australia and Mexico with the Swedish-based lecturer at several tertiary institutions, Greg group, The Musicke Roome. has taught baroque flute and recorder, history and theory subjects and performance practice, Simon Martyn-Ellis began playing the lute as well as directing Renaissance and Baroque after finding the classical guitar repertoire too ensembles. Greg has performed extensively restrictive for ensemble performance: continuo throughout Australia for Musica Viva and State accompaniment remains a the mainstay of his Arts Councils, played in South East Asia and activities. Simon completed an Honours degree Europe and made numerous radio and television (Uni. of New England) in performance on the broadcasts, and several recordings, including lute and related instruments in 1994, studying Breath of Creation–Flutes of Two Worlds with with Tommie Andersson. Since then, he has Anne Norman, shakuhachi (Move MD 3163). studied with performers such as Jakob Lindberg, Greg Dikmans on alto recorder Greg

Lucinda Moon graduated from the Victorian College of the Arts in 1991 and was subsequently awarded the Willem van Otterloo and Nickson Travelling scholarships to pursue postgraduate studies in baroque violin. She undertook two periods of study at the Royal Conservatorium in The Hague with Sigiswald Kuijken, graduating in 1995. In 1996 Lucinda was a prize winner in the Bruges Early Music Competition with Les Quatre. Currently based in Adelaide, Lucinda has performed extensively in Australia with a number of leading early music ensembles. In addition to her position as principal violinist with the Elysium Ensemble,

Lucinda Moon on baroque violin on baroque Lucinda Moon she is a member of Chacona and concertmaster Simon Martyn-Ellis on baroque guitar Martyn-Ellis on baroque Simon William Carter and, thanks to a Churchill The Elysium Ensemble gratefully acknowledges To see video of extracts from Hottettere’s Fellowship (1999) and funding from Arts the support of Simone Pérèle. Troisième Suite, go to the Move website, or in Victoria, the Ian Potter Cultural Trust (2001) YouTube, search: Hottettere Elysium Ensemble and the Australia Council (2002), with Rolf For more information about the ensemble and Lislevand and Hopkinson Smith in Germany its music visit www.elysiumensemble.com P 2002Move Records and Switzerland. He has appeared in the move.com.au Melbourne and Adelaide International Festivals with Collegium Vocale Gent (conducted by Philippe Herreweghe) and Chiara Banchini’s Ensemble 415. Simon has also appeared with leading Australian ensembles: the Sirius Ensemble, Salut! Baroque, Chacona, The Song Company, The Renaissance Players, Ensemble Eclectus, The Adelaide Chamber Singers, and is a founding member of Millefiori. Simon is currently undertaking a Masters Degree in Creative Arts through Newcastle University, focusing on the lute and guitar as a central figure in ensemble performance.

Credits

Cover photo: The floor of Louis XIV’s sitting room in the palace of Versailles (October, 1997), taken by Felicity Spear

Photography: Greg Dikmans and Judith Caughie Studio: Move Records, Melbourne Digital recording and editing: Vaughan McAlley Produced by: Elysium Ensemble and Martin Wright Booklet design: Alessandro Servadei Program Notes: Greg Dikmans Video production: Martin Wright